for Project "Rightless", Premiered at MIAM Art of Noises II, 2019.

A tyrant repellent ritual of several sections, one part for rightless percussion

Asli Kobaner - Tyrant Repellent Prayers (2018)

David Creese of the University of Newcastle plays an ancient Greek song taken from stone inscriptions constructed on an eight-string "canon" (a zither-like instrument) with movable bridges. (Audio file is ©BBC)

What Ancient Greek Music Sounded Like

As performed by Hezarfen Ensemble, November 2014

Brackets on the River (2014)

Karakulak Ensemble - 12/04/2016 - Bilgi YMF7 - COOP/Istanbul
Aslı Kobaner: Electric Guitar 
Enis Gümüş: Electric Bass Guitar
Gülşah Erol: Violoncello
Nedim Ulusoy: Bass Clarinet
Guest Musician: Drums - Jim Black -  http://www.jimblack.com/



Karakulak Ensemble - 12/04/2016 - Bilgi YMF7 - COOP/Istanbul

Mastered album version: https://hazalelif.bandcamp.com/track/computer-room

Computer Room is part of an ongoing field recording project focusing on recording of data centers. Field recordings were taken so far at HPC Imperial College London and UHeM Istanbul Technical University by Hazal Elif Yalvaç and Michael Bearpark. In the composition, the machines generating sounds as a result of workload are treated like ambient music and noise music machines. To this end, recordings are either processed intensively or left almost unprocessed to draw attention to the timbral and pitch characteristics and achieve a musical composition, i.e., music played by machines used at data centres.

Elif Yalvac - Computer Room (former version)

Future Race

Ensemble Zeitfluss (conductor: Edo Micic)
9.11.2017, Graz, Minoritensaal (recorded by: F. Kerstinger)

In Gedenken an Pythagoras und Shakespeare, die ein ähnlicher Gedanke verband - "die ganze Welt ist eine Bühne, wir sind bloß nur Spieler" – schöpft dieses Werk die Inspiration aus der absurden Realität, die uns umgibt. Um  sich dieser Realität zu nähern, erscheint es manchmal als der einzig richtige Weg sich in einen Kosmos von Humor, Ironie und extremen Empfindungen mit Hilfe von Klang zu flüchten. Dies ist ein musikalisches Experiment, das als Satire verstanden werden will, wobei die Musiker auch als Kommentatoren agieren und in Verbindung mit der Musik die Tür zu einer „anderen“ Bühne eröffnen.

Painting by Katarina Ferek-Petric
https://ferekpetrickatarina.jimdo.com/

supported by: SKE
http://www.ske-fonds.at/show_content.php?hid=1

All the world´s a stage 2017

Klank.ist Ensemble
Violin: Secil Isiksoy
Violoncello:Zeynep Ayse Hatipoglu
Keyboard: Sabina Kjuhaeva
Voice,Electronics: Eda Er 
Live recording : @mertcanicuz

01.01.2018 Bomontiadaalt (Miam Music Dunya Concert)

Hyperboreans for Violin,violoncello,keyboard,voice,electronics

madame frenzy

performed by Gaku Yamada (gtr), Max Riefer (perc), Kei Sakota (vln), and Yui Hosoi (vlc)

“Intimate III” is the third piece of a series that is composed with the new metal percussion instrument, nicophone. In the piece, emphasis is placed often on the changes of resonance after the sound is produced. The overtones and tone colours produced by the four performers through their musical instruments independently and in various combinations creates various forms of energy and tension that aim to express the inner energy changes within a human being as the most primitive form of life. 


Intimate III (2012) for guitar, percussion, violin, and violoncello

Composed by HueyChing Chong 
World Premiere on 27th May 2013 (Mon) at A Hall, Tokyo College of Music

Baritone : Takashi Matsudaira
Steel-string Guitar : Gaku Yamada
Classical Guitar : Koki Fujimoto
Electronic : Sumihisa Arima